Lemony Snicket’s Film – Esoteric Analysis

Lemony Snicket’s: A Series of Unfortunate Events represents a deeper attempt at “hidden in plain view” revealing of occult secrets, than anything you might find in the more popular Harry Potter series. Harry Potter is an overt kind of participation in witchcraft, but Lemony Snicket’s is something else. It presents, in fact, a much more realistic and subtle allegory for the modern intelligence panopticon-inspired control system. Harry Potter focuses on superstition, while Lemony Snicket’s focuses on the actual workings of the cryptocracy.

Admittedly, I have not read the book series, but I have seen the film several times and read in depth analyses of both, and it’s pretty obvious what the message is, if you have eyes to see. The most prominent symbol in the film is the eye, and particularly the symbolism of the eye as the All-seeing Eye. The eye here is not so much an Egyptian or religious symbol, but rather in the sense of the panopticon of control by secret societies. The eye is the means by which the populace is watched, as well as by which information enters the mind. In the film, the Baudelaire children, having been orphaned by their apparently dead parents. From the beginning of the DVD, we see this imagery, as the kids are attached to the marionette strings of Count Olaf, the antagonist/evil genius.

Count Olaf holds the Baudelaire children on a marionette string with panopticon All-seeing Eyes

There is endless speculation and pyschonautery concerning the meaning of the eye among the conspiraciologists, but we need not jump to the extreme for understanding its real esoteric significance. Yes, there is the evil eye and yes, there are All-seeing Eyes that had to do with Egypt, but when you consider the modern relevance of this symbol, it has much more to do with technological surveillance of all areas of life and thus a constructed control grid than it does necessarily with ancient Egyptian deities. Indeed, the symbol itself is just a symbol of divine providence or omniscience. What the referent for “divine” here, or whose “eye” is meant is entirely up for grabs. It could refer to intelligence agencies, such as the old MI-5 Logo or the proposed DARPA logo (which is probably the most likely reference), or perhaps to Satan. Count Olaf, as well will see, will have “devilish” and God-like characteristics.

Old MI-5 logo with the All-Seeing Eye

As Paul and Phillip Collins have noted in their article on panopticism, the All-seeing Eye’s pervasive presence in modernity chiefly relates to the actual historic Illuminati’s notion of a completely surveilled, hierarchical scientific society (which would replace the old hierarchy of Church and state). This theory was exemplified in figures like Henri de Saint-Simon, empiricist Jeremy Bentham, sociologist August Comte, and analyzed by later post-modern luminary, Michel Foucault, and included the idea of a society knowing that every move they made was being tracked, as an added element of psychological control and disciplinary power over its subjects. Thus, the real “controllers” become the scientific elite, spy networks and intelligence agencies. This is precisely the view that Lemony Snicket’s presents.

Analyst Lauren Turner notes in her master’s dissertation:

“These literary examples linking the eye and surveillance are important to mention in light of the fact that they precede Michel Foucault’s hypothesis of surveillance and its effects on society in his 1975 study examining the Enlightenment and Jeremy Bentham’s Panopticon, a plan for a modern prison, Foucault understands the effectiveness of surveillance to lie in an uncertainty in its operation. The Panopticon was a prison that was to be constructed with its cells facing a central tower. The central tower’s windows were to be set at angles so that the prisoners would be unable to determine if they themselves were under scrutiny at any point in time. This plan would eliminate the need for the chains and dark dungeons of the past which attempted to translate power into physically repressive measures.always a possibility that one is the subject of a gaze, then one will modify his behavior accordingly. Foucault writes: He who is subjected to a field of visibility, and who knows it, assumes responsibility for the constraints of power; he makes them play simultaneously upon himself; he inscribes in himself the power relation in which he simultaneously plays both roles; he becomes the principle of his own subjection. By this very fact,the external power may throw off its physical weight; it tends to the non-corporeal; and, the more it approaches this limit, the more constant, profound, and permanent are its effects: it is a perpetual victory that avoids any physical confrontation and which is always decided upon in advance.” (Turner, HELQUIST’S AND SNICKET’S ALL-SEEING EYES: PANOPTICISM AND THE ARCHIVE IN A SERIES OF UNFORTUNATE EVENTS)

The Count himself, in fact, resides in a tower atop his mansion where he “spies.” However, while on the surface the film represents a kind of critique of panopticon control culture, there is actually a deeper, more hidden meaning in my estimation. The children are subject to a kind of imprisonment, given their fleeing from Count Olaf, as well as the kind of life they are destined to live given what we will find out concerning their family’s history. The oldest of the three children is “Violet,” the color associated with passion, youth and rebellion, and as a special gift, Violet is able to create or improvise. Violet is a kind of sophia, who gives form to latent potentiality. Violet is a kind of female MacGuyver, representing the formation of order out of chaos. Klaus, the brother, has a photographic memory for whatever he reads. Klaus, then, represents brute, factual, masculine knowledge, which, when offering help to Violet, gives her the material upon which to impose form. The youngest of the three is Sunny, the baby, who bites things, and cannot speak actual words yet. Sunny represents baser nature, focused on feelings and appetite. Together, these three operate as a team, and find “freedom” from the oppressive Count Olaf. But what does Count Olaf represent? At first viewing, the Count appears as a kind of devil figure who tyrannically seeks to imprison the children and take their fortune.

The Count with the Eye, as "the Beloved"

However, is the Count really the devil in the traditional sense? In fact, when we are introduced to the count, he is the “Beloved” and is pictured next to an all-seeing eye. In fact, the count’s mansion is full of eyes, and they are visible in virtually every scene. What we will see, however, is that the count is not, in my estimation, an image of the devil in the traditional sense, but rather is God Himself, in the traditional biblical sense, and as viewed by the gnostic or occultist. The God of the Bible, in that view, is in fact viewed as the patriarchal and vain tyrant, who imposes laws and legalities as a kind of torture on His followers. Thus, in gnostic fashion, He is associated with the all-seeing eye as a kind of tyrant control freak. In the film, the Count is an exceedingly vain actor who constantly appears under different guises to entrap the children and take their “inheritance.”

Harkening back to the introduction, the count here controls the “stage” upon which the children are constantly under his harassing surveillance. The picture we are given, then, is that the one God of the Bible is actually a demiurge, a lesser deity, who seeks to entrap and enslave through legalities, while the Baudelaire children, through gnostic enlightenment, eventually overthrow the count using his own power. Another element that backs up this interpretation is that the children are the “Baudelaire” children – the son and daughters of Baudelaire. Charles Baudelaire, of course, is the famous French poet and rumored Satanist. Although it is debated whether this was serious, it’s really immaterial to the actual story, since Baudelaire is then the figure of the rebel who rejects God. Baudelaire is associated with this, inasmuch as he wrote the famous “Litanies of Satan,” which appears as a kind of reverse Christian litany prayer.

Thus, the Baudelaire children are rebels against the Count Olaf, the vain God who wants all power and praise for Himself. In fact, “Olaf” means ancestor, and so count Olaf is representative of patriarchy and the ancien regime – the old, traditional notions of authority and God. The Baudelaires represent the new aeon of the ruling children. The ruling children of an intelligence panopticon.

After escaping the initial imprisonment of the Count, the children go to live with their naturalist uncle, Uncle Monty (played by Billy Connelly) and befriend a python which helps them foil the count once more, although the count succeeds in killing Uncle Monty by a fire, just as the children’s parents supposedly died, but not before Uncle Monty informs them they are “special children,” hinting that their parent’s ‘spyglass’ is the same as his, as Klaus notices. Klaus begins to suspect that his parents were part of some secret society that had ‘spyglasses’ and had some connection to the eye. It is also significant that their parents are never visible in the film – they are part of the invisible government, you see.

Foiled once again, the Count resorts to a faked marriage, wherein he enlists an actual judge to play the part of a judge conducting a wedding ceremony in a terrible play he has written. The entire town attends, and the count as the ‘architect’ of the entire scenario thus utilizes the law as a tool for tyranny. In fact, in the prior scene at Lachrymose Lake, when the children ran into the Count in captain’s guise, the captain hints at his identity, when he remarks, “Jumping Jehovah!” Jehovah, of course, is the God of the Bible. The Count’s goal is marriage to Violet, that he might enslave her and take the inheritance, just as God is seen as the Beloved of Israel or the Church. But the wedding scene becomes key in my gnostic reading, since it is there we see Rosicrucian and alchemical symbolism. The alchemical hermaphrodite appears with Violet as she is escorted to the Count in the play/wedding. This immediately brings to mind the so-called Chemical Wedding of Christian Rosencranz, which is the key document for early Rosicrucianism and the rise of Masonic gnosticism in Europe. For gnostic par excellance, Carl Jung, the meaning of the chemical wedding and the union symbolized by the hermaphrodite is the birth of the new golden age. In other words, the rise of man, science, gnosis and “freedom,” and the end of the old patriarchy, law, tradition and authority.

The Alchemical hermaphrodite, symbolizing the conjunction of opposites, producing the divine

The series of unfortunate events the children have undergone, then, exemplify the process of alchemical/mystical transmutation, but rather than accepting the Count’s tyrannical approach, they outsmart him, and use His own power of “converging light” to burn up His legal marriage decree. In so doing, they also expose the Count as the murderer who burned up their house with fire using His optical eye that focuses sunlight. In fact, Klaus is a kind of Prometheus, who steals the count’s firepower and turns it on him, burning up his “law” and exposing him as a fraud. The children underwent this series of unfortunate events, then, as a process of initiation, and the film ends with them joining the secret spy society their parents were members of. This is pure gnosticism, even to the degree that the secret society the children’s parents and friends belonged to is the same society the count controlled. In other words, man and God are on equal playing fields, and the tyrant demiurge Jehovah can be overthrown using His own powers, when they learn to control the latent natural powers they possess (sophia, knowledge and appetite). This absurd construal can only make sense in the gnostic system, and that is what we have with Lemony Snicket’s – something far more esoteric and occultic than anything we find in Harry Potter, yet operating under the guise of an apparently justified opposition to a panopticon society.

Klaus, as a kind of Prometheus, converges the light and turns it on the Count

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23 thoughts on “Lemony Snicket’s Film – Esoteric Analysis”

Awesome review! I actually haven’t seen this film yet but now I’m going to have too. This basic gnostic formula seems to be the favorite of the cryptocracy This is essentially the exact same theme embedded in The Truman Show, another Jim Carrey vehicle. Just like in Snicket, Truman Show uses a panoptic bad guy to represent the gnostic demiurge. In Truman they make a point of naming him Christof, (Christ carrier) just to make their point clearer to those in the know or should I say those in the gnosis.

Your analysis of the 3 children reminds me of the tripart nature of the soul as theorized by Plato, where the soul consists of The Rational faculty, The Will and the Animal Impulse. I seem to recall that one of the early gnostic sects (I don’t remember which one off the top of my head) was particularly obsessed with this and the number 3 in general. The state in Plato’s Republic was to be structured around the premise of the tripart soul. For an individual to function properly, one’s Reason must control one’s Will, which then subjugates one’s Animal Impulse. So too was the state to be arranged, with those possessed of reason ruling as Philosopher Kings over a strong willed Guardian Class, who in turn kept the more impulse driven, Working Class in line. The Philosopher kings, were those who could best see beyond the materialistic veil of the physical world and perceive the eternal forms of justice, goodness, harmony, etc. Though Plato was correct in establishing a strong line between Being and Becoming; Transcendence and Immanence, the Universal and the Particular, he was in error in his assertion that the supposed, innate imperfection of matter was the source of all evil. This error would be key to the formation of the gnostic heresies that attacked Plato’s Demiurge/the Biblical God as evil for trapping human souls in the tomb of the body. Hence, for the Gnostics, wisdom (personified as Sophia), rather than leading Man towards the personal biblical God, leads him to the impersonal God supposed to be above him.

The fact that the kids are helped by a Python is rather telling, since various gnostic sects perceived the Serpent in the Garden of Eden, as an agent of the impersonal higher god, dwelling in the immaterial realm of light. Thus the serpent, Satan is, in gnostic terms our liberator. Pure Luciferianism.

As you point out the name Violet is associated with passion and rebellion but there’s even more to the name for those involved in the semi-gnosticism inspired New Age movement. Check out some of these factoids from wikipedia’s entry on the colour violet:

The “New Age Prophetess”, Alice Bailey, in her system called the Seven Rays which classifies humans into seven different metaphysical psychological types, the “seventh ray” of “Ceremonial Order” is represented by the color violet. People who have this metaphysical psychological type are said to be “on the Violet Ray”.

Psychics who claim to be able to observe the aura with their third eye report that those who are practicing occultists (magical thaumaturgists) often have a violet aura. It is said that people with violet auras are forward looking visionaries who may be in occupations such as performance artist, photographer, venture capitalist, astronaut, futurist, or quantum physicist.

There is a small New Age political party in Germany with about 1,150 members called The Violet Party. The party believes in direct democracy, a guaranteed minimum income, and that politics should be based on spiritual values. “The Violet Party” was founded in Dortmund, Germany in 2001.

In Hinduism, violet is used to symbolically represent the seventh, crown chakra (Sahasrara).

In the Ascended Master Teachings, a group of religions based on Theosophy, the color violet is used to represent the Ascended Master St. Germain.

The Invocation of the Violet Flame is a system of meditation practice used in the “I AM” Activity and by the Church Universal and Triumphant (both Ascended Master Teaching religions). It is believed to be invoked from Saint Germain and practicing it is part of these religions’ devotion to Saint Germain. The violet flame is believed to originate from a deity named Omri-Tas, Ruler of the Violet Planet.

The Theosophical interpretations seem to owe a lot to the aforementioned Hindu notion of chakras. Similarities between this Indian system and gnosticism can be seen in wikipedia’s entry on chakras.

Sahasrara: The Crown Chakra
Sahasrara, which means 1000 petalled lotus, is generally considered to be the chakra of pure consciousness, within which there is neither object nor subject. When the female kundalini Shakti energy rises to this point, it unites with the male Shiva energy, and a state of liberating samadhi is attained. Symbolized by a lotus with one thousand multi-coloured petals, it is located either at the crown of the head, or above the crown of the head. Sahasrara is represented by the colour white and it involves such issues as inner wisdom and the death of the body.
Its role may be envisioned somewhat similarly to that of the pituitary gland, which secretes hormones to communicate to the rest of the endocrine system and also connects to the central nervous system via the hypothalamus. According to author Gary Osborn, the thalamus is thought to have a key role in the physical basis of consciousness and is the ‘Bridal Chamber’ mentioned in the Gnostic scriptures. Sahasrara’s inner aspect deals with the release of karma, physical action with meditation, mental action with universal consciousness and unity, and emotional action with “beingness”.

Though, in the above statement says Sahasrara is represented as “white” the previous quote, citing the book “The Seven Rays: a Universal Guide to the Archangels” by Samantha Stevens says it is represented as violet. So at the very least it would seem that many in the new age associated violet with occult ego annihilation and reintegration into the impersonal godhead.

This seems to perfectly match your reading of the marriage scene and the presence of the hermaphrodite, symbolizing the occult concordance of opposites.

It might even be worth considering the Count’s use of light rays that you mentioned, in relation to these new age ideas about 7 rays. There might be something there.

As I said, I haven’t seen the movie yet, nor have I read the books but check out some of the info about the author Daniel Handler.http://en.wikipedia.org/wiki/Daniel_Handler
He has written a novel title Watch Your Mouth that is described as “an “incest opera”, (that mixes) Jewish mythology with modern sexuality. (The) second half replaces the opera troupe with the form of a 12-step recovery, linguistically undergone by the protagonist.” The story involves the creation of a Golem. The fact that Handler is a self professed secular humanist, is in someways, of little consequence since the popular gnostic formula is basically nothing more than spiritualized atheism, where denial of a “distant, patriarchal sky god” is but a step towards the realization that Man himself is God.

Good points. Yes, the tripartite anthropology is platonic to the core. Good find on Handler mixing Judaism and sex and humanism and atheism. In other words, gnosticism. Can’t they think up something other than the same gnosis repackaged over and over?

Maybe you’re aware already since you chose the picture but I just noticed; in the poster Olaf is sort of coming down at them from the sky (“bad old, patriarchal sky god” that he is) however, the way the sun light pours from between the children suggests the actual light comes from within them (the whole god within crap.) Olaf, almost seems to be forming a crescent moon shape with his arms, as if attempting to eclipse the sun or consume it in the darkness of night.

It’s also interesting that the children identify the truth about themselves through the spyglass since a spyglass figures in heavily in Atheist/gnostic writer Philip Pullman’s novel “The Amber Spyglass”, which, just like Snicket, is a “Hypostasis of the Archons” style inverted hermeneutic of the Book of Genesis. Read more about it here.

http://en.wikipedia.org/wiki/The_Amber_Spyglass
The following is especially telling:
North American printings of The Amber Spyglass have edited passages describing Lyra’s incipient sexuality, which Pullman intends as a reevaluation of the tale of Adam and Eve. “This so-called original sin is anything but. It’s the thing that makes us fully human.

Pullman isn’t doesn’t even veil his luciferian gnosticism. Here’s what wikipedia has to say about the villain of his book, called “The Authority.”

The Authority was the first angel to come into existence; as did the subsequent angels, he formed and condensed from the substance known as Dust. He led other angels and, later, humanity to believe that he was in fact God the creator of the multiverse. This false claim legitimized his taking political power in the Kingdom of Heaven. The angel Xaphania later found out the truth about him, whereupon he banished her from the Kingdom (a reference to the legend of Lucifer). Xaphania and some other angels later started a rebellion against him. Several names are ascribed to him, including “Yahweh”, the “Lord”, “El”, “Adonai”, and “the Almighty”. He is the god of the Christian, Islamic, and Jewish religions and his word and messages to humanity are recorded in the Bible and the Tanakh.

He ruled his various churches, organizations, and universes from the Clouded Mountain, a mobile city believed by many in that universe to be Heaven. As the Authority grew older and weaker, the Mountain became more and more obscured by cloud.

In his old age, the Authority appointed the tyrannical archangel Metatron, who was once the biblical character Enoch, to act as regent of the Kingdom of Heaven. Eventually Metatron grew more powerful than his master. The two were opposed by Lord Asriel, who allied with “fallen” angels such as Xaphania in an attempt to overthrow the divine monarchy and replace it with a Republic of Heaven. During the final battle, the Authority is carried away from the Clouded Mountain on the orders of Metatron. He is imprisoned in a crystal box, which keeps him alive but trapped. Lyra Belacqua and Will Parry free him with the subtle knife, not knowing he is too weak to survive outside his box. He drifts apart and dies in a moment of happiness and peace, presumably to follow other characters’ precedent by merging with the cosmos.

The Authority appears only in The Amber Spyglass.

Now here’s the entry on the angel Xaphania, the stand in for Lucifer:

Xaphania is the leader of the rebel angels allied with Lord Asriel in the war against The Authority.

Xaphania first appears in the third book of the trilogy, The Amber Spyglass, at a council of Asriel’s commanders. Like all Pullman’s angels, she appears naked, winged, and luminous; due to her high rank and great age, she is clearly visible to corporeal beings. As is the norm with members of the angelic orders in the novels, there is a certain ambiguity surrounding Xaphania’s exact appearance. She appears both ancient and young, compassionate and austere. Her simultaneous age and youth are remarked on by the witch Serafina Pekkala, who herself appears that way to shorter-lived people.

The angel Balthamos is the first character to refer explicitly to Xaphania. As he explains to Will Parry, she discovered that the Authority had lied to the other angels regarding his status as God the original Creator and so was banished from the Clouded Mountain. This was the start of the first struggle against the Kingdom, Xaphania being the leader of the rebel angels who intervened in human evolution to give mankind its present consciousness some thirty thousand years ago.

Here’s what the amber spyglass is:

Amber spyglass
The amber spyglass is a small telescope fashioned by Mary Malone and the mulefa. The lens is not actually made of amber, but sap lacquer, which takes on the same golden color. By looking through the spyglass, one can see Dust as shimmering golden particles. Mary Malone had not intended to build a spyglass in the first place; rather, it started out as a mirror in an experiment to try to catch Dust (or as Mary would say ‘Shadows’), as well as to help the mulefa save the dying wheel-pod trees. With some serendipity, she discovered that only when two pieces of the lens are about a hand-span apart and coated with a layer of oil from the seed pods of the trees in the mulefa’s world can one look through and see the Shadows, or Dust. The mulefa also built a tube of bamboo to hold the plates apart at each end. With the spyglass, Mary Malone discovered that the trees were dying because the Dust was streaming away from the trees’ flowers, rather than drifting down into them as it had always done so before; this caused the decline of the mulefa’s world three hundred years prior to the trilogy’s setting.

The amber spyglass is the only one of the three titular objects in His Dark Materials that does not require “negative capability” to use, as one only needs to look through it to see Dust. However, Mary discovered that while looking through the glass, if one uses this negative capability, one’s consciousness can fall into the flow of Dust and away from one’s body.

Now here’s what “the dust” is:

Pullman’s Dust is a fictional form of dark matter, an elementary particle that is of fundamental importance. It is invisible to the human eye and cannot be seen without the use of special instruments, such as the amber spyglass or a special film. While humans cannot see Dust without the use of outside devices, creatures such as the mulefa are able to see dust with their own eyes.

Unlike ordinary particles, Dust is conscious. It falls from the sky, is attracted to people, and wears off onto objects made by people. This makes it of great interest to the Church, which believes that it may be the physical manifestation of Original Sin. It is later learned that Dust actually confers consciousness, knowledge, and wisdom, and that Dust is formed when matter becomes conscious. This allows creatures who have the ability to see Dust to identify other sentient and intelligent creatures. An example of this is when the mulefa are able to distinguish Mary Malone as an intelligent being (compared to the other animals), because of the Dust surrounding her.

Dust is also the thing that allows all “magic” to be done in the worlds. Those beings that can understand Dust by looking at it can also see the truth in things and are able to change things by getting into a certain state of consciousness. An example would be the panserbjørne, who are able to see the truth in all things and therefore cannot be tricked, unless they become like humans. There are also the witches who understand Dust on such a level that they can use it to achieve flight, cast “spells”, and make themselves unnoticed—among other things.

Dust is also the thing that connects humans to their dæmons. This being is the physical manifestation of the soul that can talk and is in the form of an animal. It sends the Dust to the human to allow the human consciousness. Even in worlds whose people lack apparent dæmons, they still exist, though they typically do not take the form of animals. In some worlds, one’s dæmon is the silent consciousness in the back of one’s head, that other voice that confers intuition. If the bond between a child and their dæmon is severed (as through Intercision), both the child and the dæmon will eventually die. If the separation occurs after Dust has settled on the person (that is, after he or she has reached adolescence), the person simply becomes a lifeless shell.

It is Dust that provides the answers given by the alethiometer, the I Ching system of divination and also the computer that Dr. Mary Malone creates in order to communicate directly with these particles by using one’s consciousness.

Dust has various names among the various different worlds within the trilogy. Dust was previously known (in Lyra Belacqua’s universe) as Rusakov particles after their discoverer, Boris Mikhailovitch Rusakov. It is known also as Shadows in our world (Pullman relates Dust to dark matter), and the mulefa’s word sraf accompanied by a leftward flick of the trunk (or arm for humans).

Angels are formed when Dust condenses. Nevertheless, Angels are not in reality the human-like figures they appear to be. They are the physical manifestation of spirit making something ‘be’. Because consciousness is the thing that makes us “sin”, it can (in theory) be seen as original sin. This is the point of view seen by the Magisterium, and therefore they seek to destroy it. However, they fail to see what the full repercussions of this would be, as they are ignorant to the true nature of Dust. Eliminating it would mark the end of consciousness, and would most certainly lead to the quick destruction of all worlds with conscious life in the multiverse.

Handler, Pullman, Shelley, Blake, Marx and so many others prove what is quick becoming my new catch phrase; Agnostics are a dime a dozen but inside every Atheist beats the heart of a religious man. These guys often present themselves free of the fetters of dogma and superstitious spirituality and yet they dogmatically hold to some of the hokiest spiritual systems imaginable.

And yes, you’re right – he appears to make a moon, whereas the Baudelaire orphans are of the “light.” Good eyes. And he also appears to make a “6” with his fingers, or a “9,” which could have many referents.

If you read the books the film is based on, you find that the eye is the symbol of a crime and arson prevention volunteer department which is undergoing massive infighting, rather than of some secret world controlling mob.

Great review. I have seen the movie today on TV. I’m very aware of the masonic/satanic symbolism in Hollywood movies, but even I was shocked by Lemony Snicket’s heavy occultism & blatant reference to secret societies & masonic initiation process! In my country the movie & books have been promoted under the same title of “Лемони Сникет: 33 несчастья”. Which in translation means – “Lemony Snicket: 33 misfortunes”. I think it is an obvious reference to the 33 degrees of freemasonry.

I just watched the movie as it was aired on tv for free. Funny thing is, just a week ago I became aware of what Illuminati was including freemasonry, OTO, and other groups. The other funny thing is how long before that I have found myself in a position of atheistic reasoning.(Not beliefs). I’m supposed to be studying microbiology now but its tru as soon as I saw the all seeing in inside the pentagram it was obvious. I serached the movies title and symbolism and I am very glad to have found this. What made sa however is the comment that if you oppose God then all you end up with is fairy tales and fables. That is the most ridiculous thing I have heard. If you truly believe in God and do not oppose him then you are clearly falling under count Olafs trick. (ie authority, ancestry). It is up to the secret societies and scientists/ freethinkers to eventually eliminate the too powerful doctrines of authority. This movie is great and as well as other movies like The Golden Compass, it shall at least subliminally start the process of brainwashing you the ideas God is not real, and unfortunately the only way to get through to you, is to brainwash you much in the same way it has been done for thousands of years.

Dust is the particle which one day no doubt science wil be able to identify. Physics and Dust is exactly the type of proof we need to completely prove wrong religions. It will prove humans are not evil because they reject god, but because it is the daemon inside them, it is their natural animal instinct, we are animals and not some special creation. Lucifer does not exist and evil comes from within everyone, whether you believe or not, you are evil and good.

Glasseye: that would all seem to make sense IF it were true. The problem is for you humanists/ atheists is that Jesus is the Truth. You can reject, dismiss and attempt to disprove authority all you want but it will never do away with the truth. If you keep plugging along you’ll discover you’re falling into the same fallacy as every naysayer does; while trying to do everything to disprove our Father God Benevolent Creator you end up being crushed by the The Rock of Offense. If what you believed were the truth instead, you would have to correct your statement and say there is no such thing as good or evil, not that we are both as it can’t exist without the Law set forth by our Creator. Without Jesus Christ then there would be nothingness & no authority. But the problem for you is, there is authority and He is Jesus Christ. As far as physics and dust being proof of no god, keep wishing, you cannot and will never disprove something that is Ultimate Truth.

Even though I based my analysis on a master’s thesis on the novel, the whole analysis is off because I made the mistake concerning an actor and a passing reference? Lol I’m more interested in the classics than your pop trivia, chick. You’re the third person who’s found an error in over 400 articles, and I welcome the correction. Big deal. Try again.